Rembrandt - posters, prints and serigraphs

"Rembrandt never visited Italy but by the time he left his native Leyden to settle in Amsterdam in 1631, he had already been exposed to the latest developments in Baroque painting. The Dutch followers of Caravaggio had ensured that the thunderous use of light and shade and dramatic figures filling the picture surface had become familiar, as had the fluid, vigorous brushwork of Rubens and the thirst for grand, painterly illusions. Like Rubens, Rembrandt would have noted that Titian in his late work had gone in search of more reflective moods and discovered a new and glorious freedom in his brushstrokes. "Of all the Baroque masters, it was Rembrandt who evolved the most revolutionary technique and who seemed to grow into the Italians' spiritual heir. By the middle of the 1630s he had long since abandoned conventional Dutch smoothness and his surfaces were already caked with more paint than was strictly necessary to present an illusion. He was weighing his sitters with jewelry solid enough to steal, vigorously modelled with a heavily loaded brush. Where others needed five touches he was using one, and so the brushstrokes had begun to separate and could sometimes only be properly read from a distance. The exact imitation of form was being replaced by the suggestion of it: to some of his contemporaries, therefore, his paintings began to look unfinished. It was from the Venetians that he had learned to use a brown ground so that his paintings emerged from dark to light, physically as well as spiritually. Yet, despite a palette that was limited even by seventeenth century standards, he was renowned as a colorist for he managed to maintain a precarious balance between painting tonally, with light and shade, and painting in color. Just as form was suggested rather than delineated, so the impression of rich color was deceptive. "He worked in complex layers, building up a picture from the back to the front with delicate glazes that allowed light actually to permeate his backgrounds and reflect off the white underpainting, and generously applied bodycolors which mimicked the effect of solid bodies in space. Never before had a painter taken such a purely sensuous interest and delight in the physical qualities of his medium, nor granted it a greater measure of independence from the image." - From "Techniques of the Great Masters of Art" Books on Rembrandt: Rembrandt's Eyes, by Simon Schama. A great narrative biography, with outstanding reproductions. Rembrandt, by U. Bockemuhl. An economical introduction. Rembrandt: A Genius and His Impact, by Albert Blankert. Essays from some of the leading Rembrandt scholars from around the world. Rembrandt: The Master and His Workshop: Paintings, by Christopher Brown. Excellent reproductions of the greatest works. Rembrandt: The Master and His Workshop: Drawings and Etchings, the companion volume to the previous listing. Along with his incomparable paintings, Rembrandt still ranks as one of the greatest graphical artists of all time. Rembrandt HARMENSZOON VAN RIJN (b. July 15, 1606, Leiden, Neth.--d. Oct. 4, 1669, Amsterdam), Dutch painter, draftsman, and etcher of the 17th century, a giant in the history of art. His paintings are characterized by luxuriant brushwork, rich colour, and a mastery of chiaroscuro. Numerous portraits and self-portraits exhibit a profound penetration of character. His drawings constitute a vivid record of contemporary Amsterdam life. The greatest artist of the Dutch school, he was a master of light and shadow whose paintings, drawings, and etchings made him a giant in the history of art. Rembrandt Harmenszoon van Rijn was born on July 15, 1606, in Leiden, the Netherlands. His father was a miller who wanted the boy to follow a learned profession, but Rembrandt left the University of Leiden to study painting. His early work was devoted to showing the lines, light and shade, and color of the people he saw about him. He was influenced by the work of Caravaggio and was fascinated by the work of many other Italian artists. When Rembrandt became established as a painter, he began to teach and continued teaching art throughout his life. In 1631, when Rembrandt's work had become well known and his studio in Leiden was flourishing, he moved to Amsterdam. He became the leading portrait painter in Holland and received many commissions for portraits as well as for paintings of religious subjects. He lived the life of a wealthy, respected citizen and met the beautiful Saskia van Uylenburgh, whom he married in 1634. She was the model for many of his paintings and drawings. Rembrandt's works from this period are characterized by strong lighting effects. In addition to portraits, Rembrandt attained fame for his landscapes, while as an etcher he ranks among the foremost of all time. When he had no other model, he painted or sketched his own image. It is estimated that he painted between 50 and 60 self-portraits. In 1636 Rembrandt began to depict quieter, more contemplative scenes with a new warmth in color. During the next few years three of his four children died in infancy, and in 1642 his wife died. In the 1630s and 1640s he made many landscape drawings and etchings. His landscape paintings are imaginative, rich portrayals of the land around him. Rembrandt was at his most inventive in the work popularly known as The Night Watch, painted in 1642. It depicts a group of city guardsmen awaiting the command to fall in line. Each man is painted with the care that Rembrandt gave to single portraits, yet the composition is such that the separate figures are second in interest to the effect of the whole. The canvas is brilliant with color, movement, and light. In the foreground are two men, one in bright yellow, the other in black. The shadow of one color tones down the lightness of the other. In the center of the painting is a little girl dressed in yellow. Rembrandt had become accustomed to living comfortably. From the time he could afford to, he bought many paintings by other artists. By the mid-1650s he was living so far beyond his means that his house and his goods had to be auctioned to pay some of his debts. He had fewer commissions in the 1640s and 1650s, but his financial circumstances were not unbearable. For today's student of art, Rembrandt remains, as the Dutch painter Jozef Israels said, "the true type of artist, free, untrammeled by traditions." The number of works attributed to Rembrandt varies. He produced approximately 600 paintings, 300 etchings, and 1,400 drawings. Some of his works are: St. Paul in Prison (1627); Supper at Emmaus (1630); The Anatomy Lesson of Dr. Nicolaes Tulp (1632); Young Girl at an Open Half-Door (1645); The Mill (1650); Aristotle Contemplating the Bust of Homer (1653); The Return of the Prodigal Son (after 1660); The Syndics of the Drapers' Guild (1662); and many portraits. Self-Portraits before 1639 The Return of the Prodigal Son by Rembrandt Van Rijn 22x28 Fine-Art Print Lion by Rembrandt Van Rijn 20x16 Fine-Art Print Storm on the Sea of Galilee I by Rembrandt Van Rijn 16x20 Fine-Art Print The Return of the Prodigal Son by Rembrandt Van Rijn 11x14 Fine-Art Print Return of the Prodigal Son by Rembrandt Van Rijn 38x49 Giant-Size Poster Return of the Prodigal Son by Rembrandt Van Rijn 24x36 Wall Poster Masterworks of Art - Rembrandt v... by Rembrandt Van Rijn 25x19 Wall Poster The Prophet Jeremiah by Rembrandt Van Rijn 19x24 Fine-Art Print The Man with Golden Helmet by Rembrandt Van Rijn 22x28 Fine-Art Print Return of the Prodigal Son I by Rembrandt Van Rijn 24x32 Fine-Art Print The Night Watch by Rembrandt Van Rijn 24x20 Fine-Art Print Aristotle - Bust of Homer by Rembrandt Van Rijn 22x28 Fine-Art Print Philosopher Reading by Rembrandt Van Rijn 11x14 Fine-Art Print Philosopher Reading by Rembrandt Van Rijn 22x28 Fine-Art Print Study of an Elephant by Rembrandt Van Rijn 20x16 Fine-Art Print Storm on the Sea of Galilee II by Rembrandt Van Rijn 11x14 Fine-Art Print A Woman Sitting up in Bed, c. 1635 by Rembrandt Van Rijn 14x11 Fine-Art Print Selbstbildnis mit Saskia by Rembrandt Van Rijn 18x23 Fine-Art Print Nachtwache by Rembrandt Van Rijn 26x22 Fine-Art Print Nurse and Eating Child, c. 1635 by Rembrandt Van Rijn 11x14 Fine-Art Print Woman with a Child Frightened by... by Rembrandt Van Rijn 11x14 Fine-Art Print A Study of a Female Nude Seen fr... by Rembrandt Van Rijn 11x14 Fine-Art Print Night Watch Rembrandt by Rembrandt Van Rijn 30x24 Fine-Art Print A Woman in North Holland Costume... Rembrandt by Rembrandt Van Rijn 11x14 Fine-Art Print The Night Watch, 1642 Rembrandt by Rembrandt Van Rijn 32x28 Fine-Art Print Return of the Prodigal Son II Rembrandt by Rembrandt Van Rijn 16x20 Fine-Art Print A Nude Woman with a Snake, c. 1637 Rembrandt by Rembrandt Van Rijn 11x14 Fine-Art Print Supper at Emmaus Rembrandt 1648 (50 Kb); Oil on wood; The Louvre David and Jonathan Rembrandt 1642 (140 Kb); Oil on panel, 73 x 61.5 cm (29 x 24 in); Hermitage, St. Petersburg The Mennonite Minister Cornelis Claesz. Anslo in Conversation with his Wife, Aaltje Rembrandt 1641 (80 Kb); Oil on canvas, 176 x 210 cm; Gemaldegalerie, Berlin The Little Children Being Brought to Jesus ("The 100 Guilder Print") Rembrandt Completed 1647-49 (150 Kb); Etching and drypoint, 1st state, 27.8 x 38.8 cm; Rijksmuseum, Amsterdam Holy Family Rembrandt 1640 (130 Kb); Oil on wood, 41 x 34 cm (16 1/4 x 13 1/2"); Musee du Louvre, Paris The Mennonite Minister Cornelis Claesz. Anslo in Conversation with his Wife, Aaltje Rembrandt 1641 (80 Kb); Oil on canvas, 176 x 210 cm; Gemaldegalerie, Berlin The Mill Rembrandt c. 1650 (90 Kb); Oil on canvas, 87.5 x 105.5 cm (34 1/2 x 41 1/2 in); National Gallery of Art, Washington Aristotle contemplating a bust of Homer Rembrandt 1653 (90 Kb); Oil on canvas, 143.5 x 136.5 cm; Metropolitan Museum of Art, New York; Bredius 478 Jan Six Rembrandt 1654 (90 Kb); Oil on canvas, 112 x 102 cm; Six Collection, Amsterdam Hendrickje Bathing in a River Rembrandt 1654 (130 Kb); Oil on panel, 61.8 x 47 cm; National Gallery, London Bathsheba at Her Bath (Bathsheba with King David's Letter) Rembrandt 1654 (120 Kb); Oil on canvas, 142 x 142 cm (56 x 56"); Musee du Louvre, Paris The Slaughtered Ox Rembrandt 1655 (20 Kb); Oil on wood; The Louvre Joseph Accused by Potiphar's Wife Rembrandt 1655 (80 Kb); Oil on canvas, 106 x 98 cm (41 5/8 x 38 1/2 in); National Gallery of Art, Washington Hendrickje at an Open Door Rembrandt 1656 (20 Kb); Oil on canvas; Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie, Berlin Portrait of Hendrickje Stofells Rembrandt 1659 (30 Kb); Oil on canvas; National Gallery in London Portrait of a Lady with an Ostrich-Feather Fan Rembrandt c. 1660 (80 Kb); Oil on canvas, 99.5 x 82.5 cm (39 1/8 x 32 1/2 in); National Gallery of Art, Washington The Syndics of the Clothmaker's Guild (The Staalmeesters) Rembrandt 1662 (130 Kb); Oil on canvas, 191.5 x 279 cm; Rijksmuseum, Amsterdam The return of the prodigal son Rembrandt c. 1662 (210 Kb); Oil on canvas, 262 x 206 cm; The Hermitage, St. Petersburg Portrait of an Old Man Rembrandt 1665 (30 Kb); Oil on canvas; Uffizi, Florence Man with a Magnifying Glass Rembrandt c. 1668 (150 Kb); Oil on canvas, 36 x 29 1/4 in; The Metropolitan Museum of Art, New York The Music Party Rembrandt 1626 (40 Kb); Oil on wood; Rijksmuseum, Amsterdam The raising of Lazarus c. 1630 (150 Kb); Oil on panel, 96.2 x 81.5 cm; Los Angeles County Museum of Art; Bredius 538 The raising of Lazarus Rembrandt c. 1630 (150 Kb); Oil on panel, 96.2 x 81.5 cm; Los Angeles County Museum of Art; Bredius 538 A Scholar Rembrandt 1631 (130 Kb); Oil on canvas, 104.5 x 92 cm (41 x 36"); Hermitage, St. Petersburg Nicolaes Ruts Rembrandt 1631 (10 Kb); Oil on mahogany panel; The Frick Collection, New York The Anatomy Lecture of Dr. Nicolaes Tulp Rembrandt 1632 (130 Kb); Oil on canvas, 169.5 x 216.5 cm; The Hague, Mauritshuis Philosopher in Meditation Rembrandt 1632 (110 Kb); Oil on wood, 28 x 34 cm (11 x 13 1/2"); Musee du Louvre, Paris Abraham and Isaac Rembrandt 1634 (120 Kb); Oil on canvas, 158 x 117 cm (62 x 46 in); Hermitage, St. Petersburg Artemis Rembrandt 1634 (120 Kb); Oil on canvas, 142 x 152 cm (55 7/8 x 59 7/8"); Museo del Prado, Madrid Descent from the Cross Rembrandt 1634 (130 Kb); Oil on canvas, 158 x 117 cm (62 x 46 in); Hermitage, St. Petersburg The Feast of Belshazzar Rembrandt c. 1635 (120 Kb); Oil on canvas, 167 x 209 cm; National Gallery, London Danae Rembrandt 1636 (40 Kb); Oil on canvas; The Hermitage at St. Petersburg The Blinding of Samson Rembrandt 1636 (130 Kb); Oil on canvas, 206 x 276 cm; Stadelsches Kunstinstitut, Frankfurt The Archangel Leaving the Family of Tobias Rembrandt 1637 (130 Kb); Oil on wood, 66 x 52 cm (26 x 20 1/2"); Musee du Louvre, Paris Self Portrait Rembrandt 1629 (30 Kb); Oil on canvas; The Mauritshuis, The Hague Self Portrait as a Young Man Rembrandt 1634 (20 Kb); Oil on canvas; Uffizi, Florence Rembrandt and Saskia in the Scene of the Prodigal Son in the Tavern c. 1635 (120 Kb); Oil on canvas, 161 x 131 cm; Gemaldegalerie Alte Meister, Dresden Self-Portrait Rembrandt 1640 (100 Kb); Oil on canvas, 102 x 80 cm; National Gallery, London Rembrandt Portrait of the Artist at His Easel 1660 (120 Kb); Oil on canvas, 111 x 90 cm (43 1/2 x 35 1/2"); Musee du Louvre, Paris Self-Portrait Rembrandt 1661 (110 Kb); Oil on canvas, 114 x 94 cm; English Heritage, Kenwood House, London Self-Portrait Rembrandt 1669 (80 Kb); Oil on canvas, 86 x 70.5 cm; National Gallery, London
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